Prince

May/June 1978

The Insider

Prince [title possibly incomplete or incorrect]

by Jeff Schneider

Prince believes in magic the kind you work at because it’s laying there inside you like a wand without an arm to wave it – and he’s been busy practicing his magic since he was seven, banging out Jazz and Blues songs on the piano. He was raised in South Minneapolis with his three brothers and four sisters. His dad, billed as Roger Prince, was a swing-band leader. His mother worked on and off as the band’s lead singer. When he was in the seventh grade at Bryant Junior High he joined a local dance band called Grand Central. Around the time he and the rest of the members were ready for a change of schools (Central High) they changed the band’s name to Shampayne. By the time Prince was 13 he was comfortable with a bass or a lead guitar. A year later he began working on the drums with a Magnus Chord Organ, a clavinet, and an array of synthesizers following the beat of his magic in the making. A formal musical education didn’t have much influence in that magic. Prince says as he recalls his school days, “I took one piano and two guitar lessons while I was in school. I wasn’t really a model student. I didn’t want to play the funky stuff music teachers used and I couldn’t read music. It would always end up that the teacher would go through his thing, and I’d end up doing mine. Eventually they just gave me an A and sent me on my way.”

“By the time I was a sophomore, school had gotten to be a real drag. I was getting further and further into making music. The more I found myself entertaining at local gigs during the night, the more I hated the thought of going to school in the morning.”

“But later on, there I was seventeen, a graduate and still frustrated. I felt that I had to keep going after the music but didn’t know how long I’d be able to do it and eat too. I did know that I wanted something more than nine to five.”

Frustration and the going-nowhere-in-a-hurry blues trapped Prince in a case of the ’Midwest Lethargism’ syndrome. He was struck with the affliction’s common symptoms. First you begin viewing the scene as lethargic. This lethargy soon spreads to your scene until you just know that the only way anything’s gonna pop is if you get the hell out to where the action is. Destination choice is another predetermined characteristic of the affliction. You only see apples or oranges in your dreams. Prince chose the Big Apple because an older sister, Sharon, lived there.

“The only way I can relate to that period, is that it was part of a search,” Prince admits.

“While I was living with Sharon I got hooked up with a woman producer who was always busy pitching her own angles. She was only looking at me as a singer, the kind that opts for the silk capes, high heeled shoes and white Cadillacs. You know, somebody who dresses and sings the same part – a nice dresser and a sweet singer. I tried to explain that even though I didn’t have the key to the recording industry, that I knew myself and that I knew for sure what I would and wouldn’t do for that Key. I told her I never considered myself a singer. I saw myself as an instrumentalist who started singing out of necessity. I don’t think I ever got through, but I tried explaining, that to me, my voice is just like one of the instruments I play. It’s just one thing I do.”

Two years ago Prince was just another 16-year-old musician with a band. The drummer’s mother managed it, arranging as many school gigs and club appearances as she could. Today he’s an 18-year-old studio soloist who just may be sitting on the largest debut recording offer ever to be approved by Warner Brothers Records. Direction from Prince’s new manager, Owen Husney, a three-song demo tape and an awe-inspiring amount of talent landed a bottom line that reputedly ran into six figures.

The debut LP entitled Prince-For You established enough firsts in its own right to humble a limo-load of market-proven recording artists. “For You” is the first debut album ever to be completely controlled by the artist and his management. Prince was granted control of production, performance, composition and arrangement. On the LP, the Minnesota artist practiced what the contract preached. He arranged the material which — with the exception of “Soft and Wet” – he had created. In Warner Brothers’ Record Plant located in Sausalito, California this 18-year-old, 16-track neophyte stepped in and put down nine solid tunes — single handed. A previous studio merger had yielded the demo which had stimulated his lenient agreement. This time a developed conception emerged. Nine major league tunes — with lush instrumentation and enough multitrack voice dubbing to prompt the Divine Miss M into polishing her bugle.

Ironically. while Prince was in New York unsuccessfully explaining the magic he wanted to come across in a production to an unyielding producer, some of that same magic he’d left behind in Minneapolis was casting spells and lighting up wands on its own.

Before his eastern migration, Prince had gotten a call from Chris Moon, the owner of Moon Sound Inc., a recording studio in South Minneapolis. Moon had remembered the black dude on piano who had played with Shampayne in a previous session. Now he had a demo tape that needed a solid piano track tor icing. He knew Prince could easily handle the job and that he’d get an economical billing to boot.

After the pianist had added the keyboards he picked up a bass and suggested that it would also be an asset to the tape’s sound. Moon agreed, but added that he hadn’t planned on paying for a bass player too. While a mesmerized Moon sat behind the control panel, the kid from Shampayne laid down a tight bass line. Then he put the bass aside and pounded out a drum track, added an electric guitar lead line and finished by feeding the studio ’s recorders with multiple backup vocal tracks.

A short while after Moon had edited the tape, he asked the proprietor of The Ad Company at 430 Oak Grove to give it a listen. The agency ’s owner, Owen Husney had been through the corridors of the music industry. He’d done everything from local and national promotion to artist management over the years, and Moon was sure he’d recognize Prince’s unlimited potential when he heard the tape.

“That’s pretty good, who are they?”, was Owen’s initial response. While Moon explained that the “they” being referred to was one, and that the “one” hadn’t any positive commitments for the future, Owen’s eyes grew the size of record discs (color them platinum).

A phone call later and Prince was on his way back to the city of lakes; without the company of his silk pitching New York manager . . .

Owen and Prince became fast comrades. As it became apparent to Prince that he’d finally found a manager who would work with him instead of against him, the music began to flow. “I knew whatever had to be done for Prince had to be first class,” Owen stated. “If we went to L.A. or anywhere else to score a recording deal. we weren’t just going to go out there and phone record execs from our hotel room.” “The best support I could offer was to give Prince the confidence he needed to keep on doing it.”

A demo tape was cut at Sound 80 studios. The event, the young artist’s first long-term studio stay, created a bond between man and music-machine that isn’t likely to be broken. “For me, there’s nothing like working in a recording studio. It’s satisfying. It’s like painting. You being with a conception and keep adding instruments and laying tracks down. Soon, it’s like the monitors are canvas. The instruments are colors on a palet, the mikes and board are brushes. I just keep working it until I’ve got the picture or rather the sound that I heard inside my head when it was just an idea.”

Owen admits that Warner Brothers had a slight edge in negotiations due to friendships he had cultivated at the Southern California base. “But we were approached by everybody, and we considered each proposal.” Owen goes on to explain that although A&M and Columbia were more than a little interested in the 18-year-old Minnesota virtuoso, Warner Brothers showed the most positive interest in Prince’s music itself.

“We were wined and dined by a lot of companies, but when everybody else was talking gifts and bonuses, the people at Warner Brothers were actually listening to the demo.”

Owen also recalls an incident in the negotiations during which the duo demanded the unprecedented latitude that the final agreement out lined. “Naturally, their first reaction was sure, doesn’t everybody nowadays want to have complete control?”

After a visit to a studio where Prince displayed his creative expertise first hand, Warner Brothers was convinced. Complete control could be granted on the debut disc. A three-year, three-album contract was signed.

Owen says, “I made a point of not hassling Prince while he was working at the Record Plant. They’d go in at 7:00 P.M. and usually end up staying until sunrise. He kept the pace, five, sometimes six days a week for five months. Periodically he’d give me a tape so I could keep abreast of his progress, but otherwise he handled it himself.”

Currently, Prince is back in the Twin Cities, working on soundproofing his basement so the neighbors aren’t bothered as he jams the night through. He’s not star-struck over the recent airplay he’s been getting all over the country, but confesses that hearing one’s own tunes on the radio is altogether another kind of adventure.

“I was driving down the street in my Datsun the first time I heard it,” he says. “It wasn’t that I couldn’t believe it, it’s simply that my heart dropped to my knees.”

He’s also enthusiastic about taking his show on the road. That is, as soon as he assembles it. “Andre is a musician friend of mine from the days of Shampayne. He’s the only definite member of my touring group so far. Andre is a lot like me; he eats, and sleeps his music and that’s the only kind of people I want with me on that stage. I’m planning to add 6 or 7 people, a couple of keyboardists, a rhythm player and a percussionist. I’m looking for a big stage sound so I’d like to find people who can sing, too. During the performances I guess I’ll play guitar because that will allow me to move. It would be great if I could strap a piano around me too.”

 

Prince: A One-Man Band And A Whole Chorus, Too

April 30, 1978 (Sunday)

Minneapolis Tribune

Prince: A One-Man Band And A Whole Chorus, Too

by Tim Carr

Two summers ago, Chris Moon, the proprietor of Moon Sound Inc., a recording studio in south Minneapolis, had written what he felt was salable original material. He recorded the songs with just an acoustic guitar, as a demonstration tape for his studio, but when he played them back he realized he needed a piano player to “sweeten” them.

Moon had previously recorded tapes by a local group, Champagne, which featured a 16-year-old musician, who not only was good but would play the piano for not too much money. Moon gave the kid a call, and he accepted. After the pianist had laid down the keyboard track, he asked Moon if he wanted some bass on the song.

“Sure, but I don’t want to pay for a bass player”, Moon said.

The kid went into the studio and laid down a perfect bass line…then he put some drums on the tape…added an electric guitar lead line…and finally went in and put down some multiple tracks as a backup singer.

A slightly dazzled Moon edited the material and took the finished tape to his musician-manager friend Owen Husney to see what the thought about it.

“Not bad. Who are they ?” Husney said.

“It’s one 17-year-old kid,” Moon replied.

Maintaining his cool, straightening his tie, and squeaking in a high voice, Husney managed to ask, “Who ?”

“Prince”.

Prince – no mast name, no first name, no ”the ,” just Prince – was born in south Minneapolis on June 7, 1959, the son of a swing-band leader who used the stage name Roger Prince. His mother was the lead singer of the band. At the age of 7, Prince took up the piano.

“Around the time I was 8,” he said in an interview, “I had pretty good idea what the piano was all about.”

“I had one piano lesson and two guitar lessons as a kid. I was a poor student, because when a teacher would be trying to teach me how to play junky stuff I would start playing my own songs. I’d usually get ridiculed for it, but I ended up doing my own thing. I can’t read music. It hasn’t gotten in the way yet. Maybe it will later, but I doubt it.”

While in the seventh grade at Bryant Junior High, Prince joined a local dance band, Grand Central, which he played with until he was 16. (The group changed its name to Champagne when the members moved over to Central High School.) At 13 he had picked up the guitar. At 14 he was practicing daily on a drum kit. The bass followed naturally, as did an assortment of keyboard instruments – first a Magnus Chord Organ, a clavinet, and finally an army of synthesizers.

When Husney first heard the tapes, Prince has moved from Minneapolis to live with his sister in New York. Husney called him there, offered to be his manager and called him back back to Minneapolis to make some professional ‘demo’ tapes at Sound 80 Studios, where he discovered how a fully equipped recording studio worked and had a field day with the studio’s battery of synthesizers. His demo tape was very professional and impressive indeed.

Husney took the tape to the West Coast to peddle it to the major record companies. The Tape sold itself. Husney said every major record company was knocking on his door, wining and dining and offering him bids. “I meant, it was amazing. Herb Alpert (the A of A&M) was calling my office directly.”

Husney and Prince decided to go with Warner Brothers Records, which reportedly offered the now 18-years-old a six-figure contract, a three-record deal and allowed Prince to produce his own debut album. He is the youngest person ever to have produced a Warner Bros. album.

“Prince – For You” is the title of the album. Besides producing the album, he composed and arranged its nine songs and played every instrument and sang all the vocal parts on each song.

On the record, Prince plays the studio as if it were a musical instrument – as much so as any of the 27-or-so instruments he plays on it. Overdubs and multitracks bend together into a shimmering, lushly produced whole. A conglomeration of synthesizers creates the illusion of a full orchestra on some tracks, a horn section on others and a quizzical, simple serpentine organ line on others. There’s a little of everything here, even some blues buried deep down under all the jazz and pop and funk and rock and…

The album opens with Prince singing against 45 other vocal tapes of himself – a Niagara of voices cascading and intertwining over and around each other in a dreamy, romantic melody. It closes with a hard-rocking fireball titled “I’m Yours ,” wherein Prince shows that his guitar playing need not cower beneath his synthesizers. Three clean lead guitar lines a la Carlos Santana, all distinct and all cooking, wind around each other, jump from track to track (he knows how to use the studio) and wind up into a final, fiery fade-out.

And there are seven songs sandwiched between those two, too, varying vastly in mood, instrumental arrangement and musical genre. They are mostly love and lust songs, sung softly and carrying a big beat.

“I wanted to make a different-sounding record,“ Prince said last week while sitting in Husney’s Loring Park office. “We originally planned to use horns, but it’s really hard to sound different if you use the same instruments. By not using horns on this record, I could make an album that would sound different right away. So I crated a different kind of horn section by multi-tracking a synthesizer and some guitar lines.” ”I got hip to polymoogs (polyphonic-two handed-synthesizers) when I was here working at Sound 80. I liked them a lot then. I was trying to get away from using the conventional sound of pianos and clavinets as keyboards, as the main keyboards, so I Thought I would try to use that as the main keyboard on a few songs – and it worked. I think the main reason artists fall when they try to play all of the instruments is because, either they can’t play all the instruments really well – there is usually a flaw somewhere – or they don’t play with the same intensity each track. It’s a hard project to do, but you have to pretend each time that this is going to be your only track and that you’re the only guy who’s going to play that instrument. So every time you go into the recording booth, you have to play like it’s your only shot. If you do that, what you end up with is a whole band that is playing with the same intensity.”

What Prince ended up with was indeed a very intense pop-funk band…er… “I don’t like categories at all,” Prince said, reeling at the mention of a label for his music. “I’m not soul and I’m not jazz, but everyone wants to call me one or the other. The Bee Gees aren’t called soul. They’re pop or something. Whatever it is to whoever is listening to it is what it is. It’s hard to categorize the record, so I try not to use any categories at all. There is not one categorization that all of the tracks can fall into. Some are funk, some hard rock and roll, others like “For You” could be classical, you know ?“

What makes all them “Prince” ?

“It’s hard to say. I guess it’s just the basic sound. It’s hard to classify Earth Wind & Fire, for instance, but you can always tell it’s them when you hear them. It’s not a brand of music, it’s a group sound, identity of their own. If you want EW&F, you just go out and buy them. Maybe my voice, or just my total sound, who knows ? It is my album.”

Now Prince, who says he doesn’t want his real name known “because it’s too hard to remember,” is putting together a band to take with him on a national tour to promote the album.

“So far I only have a bass player, Andre Anderson from Champagne,” Prince said. “I’m going to New York to audition some people. I’m going to have two keyboard players on stage and have a lot of synthesizers. I’m not sure who I’ll have on stage. Right now I have to try to figure out who’s going to fit. I have to try and create a personality group. I’m looking forward to going out on the road ; I like performing.”

Will he bring any horns or woodwinds with him on the road ? “Well, I’m going to pick up a flute pretty soon.”

 

 

Nelson Finds It “Hard To Become Known”

February 13, 1976 (Friday)

Central Pioneer

Nelson Finds It “Hard To Become Known”

by Lisa Crawford

“I play with Grand Central Corporation. I’ve been playing with them for two years,” Prince Nelson, senior at Central, said. Prince started playing piano at age seven and guitar when he got out of the eight grade.

Prince was born in Minneapolis. When asked, he said, “I was born here, unfortunately.” Why? “I think it is very hard for a band to make it in this state, even if they’re good. Mainly because there aren’t any big record companies or studios in this state. I really feel that if we would have lived in Los Angeles or New York or some other big city, we would have gotten over by now.”

He likes Central a great deal, because his music teachers let him work on his own. He now is working with Mr. Bickham [,] a music teacher at Central, but has been working with Mrs. Doepkes.

He plays several instruments, such as guitar, bass, all keyboards [and] drums. He also sings sometimes which he picked up recently. He played saxophone in seventh [grade] but gave it up. He regrets he did. He quit playing the sax when school ended one summer. He never had time to practice sax anymore when he went back to school. He does not play in the school band. Why? “I really don’t have time to make the concerts.”

Prince has a brother that goes to Central [whose] name is Duane Nelson, who is more athletically enthusiastic. He plays on the basketball team and played on the football team. Duane is also a senior.

Prince plays by ear. “I’ve had about two lessons, but they didn’t help. I think you’ll always be able to do what your ear tells you, so just think how great you’d be with lessons also,” he said.

[“] I advise anyone who wants to learn guitar to get a teacher unless they are very musically inclined. One should learn all their scales too. That is very important,” he continued.

Prince would also like to say that his band is in the process of recording an album containing songs they have composed. It should be released during the early part of this summer.
“Eventually I would like to go to college and start lessons again when I’m much older.”